It is commonly called "Milano Gate", in Pavia, and it consists of two identical buildings, located on both sides of the road that connects the city to Milan, near the old walls. They are masonry buildings covered in exposed stone with, in the centre, a pedestrian passage, surmounted both at the entrance and at the exit by a stone shelf with the city coat of arms.
On the top of each toll booth there is a stone sculpture, depicting one of the two rivers of Pavia, the Po and the Ticino rivers, personified in a figure of a man in a supine position.

The space between the two toll booths, the road that connects Pavia to Milan, is marked by two stone columns, with a lamp on top, inserted in an elegant bronze structure. originally the columns served as a support for a gate that closed the road.
The toll booths were built in the mid-nineteenth century to a design by the architect Carlo Amati.

Until the immediate post-war period they were also crossed by the steam tram that led to Milan, the "Gamba de Legn".

The degradation naturally caused by the passage of time was added, before the intervention, to the contribution of pollutants given by the heavy vehicular traffic, with the contribution of particles on the stone facings and on the columns, and the pedestrian passage inside the toll booths, with presence of vandals who systematically smeared walls and stone.

On the upper part of the toll booths there was an abundance of mosses and lichens, in particular on the statues placed on the top and on the stone corbels under the eaves, where rainwater stagnates more easily. In this part there was also a strong presence of salts.

The restoration work brought to light the original color of the stone, above all of the two majestic river statues, on which biocide poultices were applied to remove moss and lichen. Even the upper part of the toll booths, in light-colored limestone, was carefully cleaned with ammonium carbonate-based poultices and reclaimed from the salts, with repeated poultices based on demineralised water in paper pulp.

Cleaning on the lower facades was easier because there were fewer dust deposits, but in this case the graffiti spread by the vandals had to be removed.
The detached stone parts were consolidated and all the grouting resumed, with a mortar based on natural hydraulic lime and marble powders.

Slowly the toll booths of Porta Milano returned to their former glory.